San Antonio: City of Missions
Date: 2016-07-07T00:00:00+00:00
Keywords: San Antonio (Tex.) -- Pictorial works

The Project Gutenberg eBook of San Antonio: City of Missions

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: San Antonio: City of Missions

Author: Claude B. Aniol

Release date: July 7, 2016 [eBook #52516]
Most recently updated: October 23, 2024

Language: English

Credits: Produced by Stephen Hutcheson, Dave Morgan and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK SAN ANTONIO: CITY OF MISSIONS ***

MISSION SAN JOSE

THE ALAMO

San Antonio
CITY OF MISSIONS

By CLAUDE B. ANIOL

HASTINGS HOUSE
PUBLISHERS NEW YORK

COPYRIGHT, 1942, BY CLAUDE B. ANIOL
PRINTED IN THE U.S.A.

2

Entrance to the Alamo

3

San Antonio

From a village of Tejas Indians has grown the modern city of San Antonio ... not completely modern, for there still remain many evidences of the past, even though towering skyscrapers mark the city as progressive and prosperous. San Antonio is filled with picturesque charm and interesting contrasts. Off busy downtown streets one will find in bold relief buildings, as well as customs, that date back to times when the city was settled by Spanish conquistadors.

The Spanish, fearing encroachment in Texas by the French in the late seventeenth century, set out to make good their original claims by establishing forts and missions in East Texas. Captain Don Domingo Teran de los Rios was named governor of the new Spanish dominion and, in 1691 during a journey across Texas accompanied by Father Damian Massanet, missionary and explorer, paused here at an Indian Village. Mass was said on the site, a great many salutes were fired, and the place was named “San Antonio”.

No permanent settlement was established, however, but later other expeditions passing this way encamped here. The French explorer and trader, Louis Juchereau de Saint Dennis, claiming his interest to be the establishment of trade relations between Louisiana and Mexico, stopped near the headwaters of the San Antonio River in 1714, admired the charms of the place, and declared the location to be an ideal spot for founding a permanent community. St. Dennis’ activity in the area aroused the Spanish authorities. Rivalry for the possessions of Texas broke out anew.

In 1718 the Spanish viceroy, desiring a point midway between the East Texas Missions and the Spanish Presidio of northern Mexico, established here as a fortress the Royal Presidio of San Antonio de Bejar, and founded the mission San Antonio de Valero (The Alamo).

4

This step marked the real founding of San Antonio. Within the next thirteen years the building of four more missions got under way. King Philip of Spain began colonization of the province, when in 1731 sixteen Canary Island families arrived and settled in San Antonio. This settlement was known as the “Villa de San Fernando”, and it is on the site of this original settlement that the Old San Fernando Cathedral stands today. This little villa in the wilderness formed the nucleus about which San Antonio gradually developed. Many prominent citizens today are descendants of these early settlers.

Progress for the community during the next half century was slow, for San Antonio was on trails seldom traveled and was brought into little contact with the outside world. The missions established earlier in the century prospered, expanded and then declined. In 1793-94 they were secularized and ceased to function as church settlements. Then followed a period of waning Spanish religious and political influence. In 1811 Mexico revolted against Spain and San Antonio was occupied several times, alternately by Mexican Revolutionists and Spanish Royalists.

In 1820 Moses Austin, a Connecticut Yankee living in Missouri, left his home and traveled to San Antonio, seeking permission of the Spanish authorities, still in power, to establish a colony of Americans in Texas. After Austin’s death from hardships encountered during his trip, approval was granted his plan and it was carried out by his son, Stephen F. Austin. The years 1821 to 1836 saw a flood of Anglo-American immigration pouring in.

Mexico achieved her independence from Spain in 1821 and San Antonio and Texas came under the domination of the newly formed Mexican government which put forth inconsistent confused policies. The earlier liberal grants to the Anglo-Americans were questioned. Following a series of revolutions begun in 1829, unscrupulous rulers successfully seized power in Mexico. Their unjust acts and despotic decrees led to revolution in Texas. The Texans formed an army, and in November 1835 established a provisional government.

In 1836, at the former mission San Antonio de Valero, the famous battle of the Alamo was fought. W. B. Travis, James Bonham, James Bowie, David Crockett and some 180 Texans held off, from 5 February 23 to March 6, the Mexican army of more than 5000 troops under General Lopez de Santa Anna. The Mexicans finally broke over the mission walls on the morning of March 6 and bayoneted or knifed the entire garrison. Santa Anna was decisively beaten by Texans under General Sam Houston at the battle of San Jacinto forty-six days later. Following this San Antonio came under the rule of the newly formed Republic of Texas.

The year 1845 saw the annexation of Texas to the United States. In 1861, during the war between the States, Texas seceded from the Union. New times began in 1865 at the close of the Civil War. San Antonio became the center of a cattle empire. Longhorns were driven northward up the trails to market; mile-long wagon trains from Mexico began to come through the city. The Southern Pacific Railroad was constructed through this section in 1877. In 1898 the Spanish-American War again stimulated military activity in San Antonio and Colonel Theodore Roosevelt trained his Rough Riders at the site now marked by Roosevelt Park.

And so until 1900 San Antonio had a colorful life. Then it settled down to consistent growth and progress. Oil was discovered near the city. Hundreds of new families came to make this their home because of the natural beauty, the mild climate, the healthfulness and business opportunities. But progress proceeds without dimming the past and it is the past that draws thousands of visitors to this unique city of picturesque contrasts.

Today, more than 2,000 acres are included in the city’s 60 parks and plazas. One of the most complete city park systems in the nation, Brackenridge Park embraces 320 acres. Among its interesting features is a Zoo which ranks among the nation’s largest and best.

The San Antonio River which finds its source in numerous flowing springs just north of Brackenridge Park and winds its way through the business section of the city, has been transformed into a beautiful Venetian canal with walkways below the street level along banks lined with semi-tropical flowers and shrubs.

An important military center since its beginning, San Antonio now possesses the largest permanent army post of the nation in Fort Sam Houston, headquarters for the Eighth Corps Area. An arsenal 6 is located here, Normoyle Quartermaster Depot and Camps Stanley and Bullis. San Antonio saw the birth of the air corps in 1910 and today are located here the military flying fields of Randolph, the “West Point of the Air”; Kelly, Duncan and Brooks.

Thus the past two hundred years have seen much colorful drama enacted under the flags of France, Spain, Mexico, the Republic of Texas, the Confederacy, and the United States. Each flag has left mirrored a part of its own significance. The curious mixture of old and new which is San Antonio has been recorded in the pages of this book.

Claude B. Aniol

7

One of the most famed historic shrines in the United States is the Alamo, the old chapel of Mission San Antonio de Valero, founded in 1718. Here on March 6, 1836, a band of less than 200 Texas patriots valiantly defending the Alamo against more than 5,000 troops of Santa Anna, the Mexican general, were massacred. “Remember the Alamo!” became the battle-cry of other Texans. Santa Anna was later defeated by General Sam Houston’s forces at the battle of San Jacinto.

Most of the earlier history of the Alamo, is shrouded in obscurity. It was named in honor of St. Anthony of Padua and the Duke of Valero, a Spanish viceroy. Although the mission was founded in 1718, the cornerstone of the chapel was not laid until 1744. Founded for the purpose of Christianizing and educating the Indians, it later became a fortress and was the scene of many conflicts prior to the immortal siege of 1836. The ravages of time, of faulty construction, of war and fire have destroyed all the buildings except the chapel, and even this has been partially restored. According to some historians, the name “Alamo” came from a company of soldiers bearing the name who were once quartered there, and another claims it was derived from a grove of cottonwood trees nearby, “Alamo” being the Spanish word for cottonwood.

8

Mission Conception, Nuestra Señora de la Purisima Conception de Acuna, was established in 1731. It is probably the best preserved of the Texas missions, despite the fact that when it was secularized in 1794 its lands were distributed among the Indians, settlers and soldiers and it ceased to function as a church settlement.

Conception and the other missions of the San Antonio area are built of adobe and porous gray rock called tufa. The walls of this mission are 45 inches thick. The topmost roofs of the twin towers are pyramidical and of stone, with smaller corner and center cap stones.

9

The interior plan of Conception is the cruciform. Original frescoes of vegetable and mineral dyes are still visible.

The niche within the triangle above the ornamental entrance of Conception once held a statue. The coat of arms and symbols of the Order of St. Francis are carved in the center of the arch. Here and there can still be seen spots of what were once vivid frescoes adorning the mission front.

10

Conception from the south side presents the Moorish dome with its wide stone serrations. The walls at the right are all that remain of the mission kitchen, destroyed during the battle of Conception in 1835.

A simple arcade runs south from the entrance of Conception, connecting at the right and far end with the former living quarters of the monks.

11

Mission San Jose (San Jose y San Miguel de Aguayo), acclaimed “Queen of the Missions”, was established in 1720 by Father Margil, one of the pioneer missionaries of New Spain. The first chapel was completed in 1731, and the entire mission plan, in all of its glory, by 1779. Time and neglect had caused many of the original mission buildings to crumble away.

As it stands today, with restoration completed, San Jose presents an interesting picture of the extensiveness of the original mission plan. It was the most beautiful, the most prosperous and the best fortified of the missions in New Spain. The mission building itself faces west, with a frontage of 62 feet, and including the monastery wing, is 241 feet long. The front walls are almost 5 feet thick and the others but slightly less. The Mission is enclosed in a quadrangle embracing more than six acres, protected by ramparts forming the outer walls of the Indian quarters which were a part of the establishment.

Construction of the chapel took ten years, following a slow and tedious process. As the main walls were built, earth was constantly hauled in, the level being raised as the stones were piled higher. When the roof line was reached, dirt for the dome was piled higher and moulded so that each stone could be locked in place. With the roof completed, the dirt was dug out from beneath and the balance of the building finished. The single tower of San Jose rises to the height of the average seven and one-half story building, and the hemispheric dome of the church is almost as high.

12

The richly ornamented facade of San Jose is considered one of this Mission’s most notable features. Those parts not originally covered with carving were decorated with frescoes. The facade is rich with beautiful stone carving and ornamentation that is still in an excellent state of preservation despite the vandalism of relic hunters during the many years the mission was deserted following secularization.

13

The roof, dome and front of the walls of the original main chapel of San Jose crashed during a storm in 1868. They remained in a state of disrepair until 1937.

The lower portion of the facade of San Jose presents the work of the original sculptors. Above the doors is carved our Lady of Guadalupe. Figures in niches on each side of the doors, Saint Joachim and Saint Anne, are no longer intact. The hearts above these two statues represent the hearts of Mary and Joseph.

The window is framed in a wreath, above which is a partially mutilated statue of St. Joseph. Saints Dominic and Francis of Assisi are represented by statues on the right and left of the window.

14

Two-story cloisters connect with the main building.

Adjoining the main church at San Jose is a smaller chapel, which can be entered through this sculptured door. The original red cedar doors still swing on the old wrought iron hinges.

15

Padres of bygone days peacefully fingered their rosaries in this picturesque cloister.

The “Rose Window” of the San Jose Sacristy is said to be the work of one Pedro Huizar who toiled on it for five years. Legend has it that an unhappy romance caused the artist to pour his heart and soul into the design.

16

This cloister garden at San Jose no doubt abounded in native trees, flowers and shrubs just as it does today.

The old Mission Mill (below) has been reconstructed on its original foundations.

17

Lookouts were provided above each of the four gates entering the plaza at San Jose. Unfriendly Indians, however, seem to have seldom bothered the mission.

Around three sides of the plaza are reproduced the living quarters of the mission Indians.

18

MISSION SAN FRANCISCO de la ESPADA

The wrought iron cross atop this mission is said to have been made on the premises by the founders.

19

Mission San Francisco de la Espada was established in 1731, the main church building in a plan including many other structures, a few of which still remain. But most have long since been destroyed. One wonders why the Mission, dedicated to St. Francis, founder of the order of Franciscans, should be referred to as St. Francis of the Sword. Tradition has it that the tower was built in the form of the hilt of a sword. One’s imagination is to project the length of the blade to complete the similarity to the whole weapon.

20

A number of the original statues of the Franciscans can still be seen in the chapel of Mission Espada. These are hand carved of native wood, with movable limbs. The heads have glass eyes and separately cut teeth.

21

A fortified tower has thirty-six-inch walls. Holes for cannon muzzles were created near the base. Musket loopholes can be seen higher.

The Moorish entrance of Mission Espada. A wooden cross beside the door is a reminder of the efficacy of prayer.

22

Nestled in a thick grove of tall hackberry and pecan trees, stands Mission San Juan Capistrano. Founded in 1731, this Mission is less imposing than the others in the area. San Juan Capistrano followed the plan typical of the other missions, with an enclosed area containing all the buildings. Although in ruins, the original boundaries and foundations can still be seen. Unlike other missions the main buildings formed part of the rampart walls.

23

Of the chapel interior of San Juan Capistrano, the outer walls, the three wooden statues and a few odd items represent the original mission.

24

Looking through the entrance gate into “La Villita”, a restored settlement of the oldest remaining residential section of the city. It was started about 1722 shortly after the establishment of the presidio San Antonio de Bejar.

25

The houses in La Villita are built of rock and adobe. The residents were mostly soldiers, many of whom had intermarried with the Indians, and their families. A feeling of class distinction was created in 1731 with the coming of the Canary Islanders, who considered themselves of noble lineage. The Islanders established their own settlement and refused to have any relations with those living in La Villita.

26

The Cos House in the Villita settlement is an outstanding example of an early dwelling in San Antonio. Here General Perfecto de Cos signed articles of capitulation on December 9, 1835, after the Texans had captured San Antonio from the Mexican force.

27

High walls to give protection as well as privacy, enclose a patio of the Cos House. The house itself is of adobe with very thick walls.

28

This picturesque old adobe house on Dawson Street is but a few hundred yards from the Alamo and is typical of hundreds of similar early homes still to be seen. At the door of this home is a metate stone, still used by many Mexicans to grind their corn for a masa mixture used in making tortillas.

29

Located in Military Plaza is the Spanish Governors’ Palace, a restoration of the historic building used by the Spanish governors and vice-governors of the province.

In the keystone over the entrance is the Hapsburg coat of arms bearing the date 1749. Philip V of Spain, founder of the Canary Island settlement in San Antonio was a descendant and heir of the Spanish Hapsburgs.

30

The arrangement and furnishing of the ten rooms in the Spanish Governors’ Palace give a picture of home life in the better class Spanish homes of the day. In such homes there was a private chapel such as this room of the Blessed Virgin.

There are four fireplaces in the Palace, each different. According to tradition, sticks of wood were placed on end in one corner of the fireplace and the fair señoritas named each stick for a young señor. He was worthy of her consideration if the stick burned evenly, but if it burned in the middle and fell apart, he was not to be trusted.

31

This is the living room in the palace.

This interesting stairway led up to the despensa, or storage pantry, where food was stored.

32

In the cocina or kitchen of the Spanish Governors’ Palace the stove is typical of the Spanish kitchen in which charcoal fanned to flame by bellows, is used.

33

This comedor (dining room) in the Governors’ Palace was the scene of many gay and festive affairs.

34

The garden of the Spanish Governors’ Palace, filled with subtropical shrubbery and flowers, could have been no more beautiful in the days when Spanish viceroys ruled within its walls. The pebble mosaic walks form interesting patterns in the patio.

35

Moses Austin, born in Connecticut, lost in 1819 the fortunes he had made in the South and West and two days before Christmas of the following year arrived in San Antonio seeking permission from the Spanish authorities to bring 300 families from the states to found a colony. This bronze statue of Moses Austin, modeled by Waldine Tauch, stands on the City Hall grounds facing the restored Spanish Governors’ Palace, from whence came permission to establish his colony.

36

Looking across Main Plaza to the San Fernando Cathedral. It is here that the original Canary Islanders settled in 1731, naming the spot “Plaza de las Islas”. San Fernando Cathedral was completed in 1873 after a fire destroyed most of the original 1749 building. Santa Anna used the church as an observation point during the siege of the Alamo in 1836.

37

This Georgia Marble Cenotaph in memory of the heroes of the Alamo stands opposite the Alamo fortress area. Its sides are inscribed with the names of all who fell at the Alamo. Pompeo Coppini was the sculptor. At the left is the Spanish Colonial Post Office, at the right, the Medical Arts Building.

38

This sixteen room mansion built in 1859 for James Vance of Stebaune, Ireland, stands as a splendid example of the Greek Revival influence in architecture felt all through the South before the Civil War. Robert E. Lee was often a guest here. The lumber and iron railings were brought in from New Orleans and much of the materials used in its construction were imported. It is said that the water hydrants were of solid silver.

39

The San Antonio River is but a narrow meandering stream, with headwaters just outside the northern city limits. In the twists and turns it makes, crossing six miles of street, it passes beneath 42 bridges. The Indians of the locality used a word that characteristically describes it as a “drunken-old-man-going-home-at-night”.

The beautiful San Antonio River is about twenty feet below street level and the part that winds along twenty-one blocks of the downtown business section has been beautified and transformed into a Venetian-like canal. Stairways, each of a different design, lead down from the bridges to the river walkways lined with trees and shrubs, many of them semi-tropical. Here one can stop and relax away from the noise of traffic on the upper street level.

40

In the early days, Old St. Mary’s College, established in 1852, maintained a boat landing here and many of the boys who lived along the river came to school in their boats.

41

On St. Mary’s Street, at a picturesque bend in the river, has been preserved the home of John Twohig, erected in the early 1840’s. Because he gave barrels of bread to the poor on each Saturday, Twohig was given the name of “the breadline banker”.

42

One of the several boat landings along the San Antonio River. Many of the buildings bordering the river have overhanging balconies and a few street level business houses can be reached from river bank entrances.

43

The Arneson River Theatre, a unique outdoor playhouse, can be reached through this Villita Street entrance which adjoins the Cos House, as well as from the river walks. Seen through the arch is a portion of the stage.

44

From the Villita Art Gallery grounds a portion of the Arneson River Theatre stage with the permanent back drop of a mission type building and bell arches, can be seen at the right.

45

Tiers of grass-covered seats accommodating nearly a thousand people form the seating arrangement of the Arneson River Theatre.

46

The Municipal Auditorium, built as a memorial to the World War dead, has a seating capacity of over 6,000.

47

The little Block House pictured here was built in 1862 as a defense against the Indians. It is located in San Pedro Park, an old council ground of the Indians.

48

The Pioneers’-Trail Drivers’ Memorial in Brackenridge Park has many interesting exhibits. The Texas Trail Drivers, an association of men who made drives up the early cattle trails, have official headquarters here.

49

Thomas Jefferson Senior High School, a modern adaptation of Spanish Colonial architecture, is the largest of the city’s several senior schools.

50

The longhorn, once a familiar sight on the ranges of Texas, have probably made more history than any other breed of cattle. Of Spanish origin, their first appearance in the southwest was probably with Coronado’s expedition in 1541. These big lanky, raw-boned animals, with a horn spread sometimes reaching nine feet, have long since been supplanted by improved beef types. In the Brackenridge Park Zoo can be seen a number of these picturesque animals which have now become somewhat of a curiosity.

In Brackenridge Park Zoo, one of the leading zoological gardens of the nation, an African panorama with natural pits for the animals displays the most important specimens in barless areas.

51

The Sunken Garden Theatre in Brackenridge Park. Here during the summer in a magnificent setting are presented light operas and concerts.

An abandoned rock quarry was converted into this Japanese Garden.

52

Within the Quadrangle at Fort Sam Houston is the 88-foot clock tower which, when it was constructed in the late seventies, also served as a watch-tower for the fort.

53

Kelly Field, established during World War I, is the oldest advanced flying training school in the nation. The dull gray frame hangars and buildings erected at that time still constitute most of the field’s structures, although in recent years many fine permanent type buildings like the Cadet Barracks pictured here, have been erected.

Most of America’s great aviators of the past quarter century received their “wings” at Kelly Field. Ground school study at the field is now carried on in this new Academic Building.

54

Randolph Field, “The West Point of the Air”, is one of the largest military airdromes in the world, embracing a total area of approximately two miles square with the building area occupying 475 acres of this.

Here are located the primary and basic flying schools of the Air Corps, U. S. Army. The key structure of the field is the Administration Building pictured here, which has a tower 175 feet high, topped by a powerful beacon to help orientate night fliers.

55

A portion of Randolph Field looking south from the top of the Administration Building. The home in the foreground is that of the commanding officer of the field.

Randolph Field from the air.

56

Two of the Cadet barracks at Randolph Field. The Spanish type of architecture has been followed consistently in all the construction at the field, with the exception of the hangars.

57

The Randolph Field Post Chapel.

58

$1.25

San Antonio
City of Missions

By
CLAUDE B. ANIOL

Travelers who have visited San Antonio remember it as a city with a warm and personal charm. It is one of the rare places which embody and symbolize all that is America. Founded by the Spanish in the late seventeenth century, San Antonio has flown the flags of France, Spain, Mexico, the Republic of Texas, the Confederacy, and the United States.

In the midst of an important city which is a center of industry and commerce stand the lovely 200-year-old missions, and the Alamo, whose defense by Bowie, Crockett and their fellow heroes gave birth to a great rallying cry of our nation. Nearby are the aviation stations of Randolph, Kelly, Brooks and Duncan Fields, “the cradle of America’s air might.”

Claude B. Aniol, one of America’s foremost photographers, is eminently qualified by his intimate knowledge of San Antonio, his home, to portray in superb photographs this dynamic and busy, yet always picturesque city.

American Guide Series

America is being rediscovered today. In every state of the Union, in large cities, tiny villages, on the open highway, members of Federal Writers’ Projects are revealing the riches of the land. The American Guide Series is a heartlifting experiment in co-operative literature. Field investigators, cartographers, writers, editors, photographers, business supervisors have contributed to the task of producing guide books which shall be accurate, timely, convenient, and entertaining.

The primary emphasis in the books is upon the tours. Travelers in cars, on trains, in busses—campers, hikers, fishermen, hunters—will find here the information they need. How far to the next town; what kind of road; are there hotels, campsites; what should we see; are there side trips; what are the traffic and game laws? These are the first considerations of travel.

But the book contains more than that. The authors are not Baedekers descending for a moment on some foreign spot. They are writing also for the historian today and tomorrow who would know how the states appear to the people who inhabit them. Sections devoted to the history of the particular state, the temper of its people, the nature of its resources and industries, the problems it faces and the way it meets them, endow the reader—be he tourist, student, or armchair traveler—with an intimate knowledge of the region. These volumes are an invitation to visit America.

The volumes in the American Guide Series contain a wealth of information on the region they cover. Each gives an account of the history and folklore of the city or state, information concerning the recreational facilities available, and many tours. Maps and many beautiful illustrations supplement the text.

Alabama | $4.00
Arizona State Guide | $4.00
Arkansas State Guide | $4.00
California State Guide | $4.00
Colorado State Guide | $4.00
Delaware State Guide | $4.00
Iowa State Guide | $4.00
Kansas State Guide | $4.00
Kentucky State Guide | $4.00
Key West City Guide | $2.00
Los Angeles City Guide | $4.00
Louisiana State Guide | $4.00
Minnesota State Guide | $4.00
Mission San Xavier del Bac, Arizona | $1.00
Mississippi State Guide | $4.00
Montana State Guide | $4.00
Mount Hood Guide | $2.00
Nebraska State Guide | $4.00
New Jersey State Guide | $4.00
New Mexico State Guide | $4.00
The Oregon Trail | $2.00
San Francisco City Guide | $4.00
Santa Barbara City Guide | $2.00
Tennessee State Guide | $4.00
Texas State Guide | $4.00
Utah State Guide | $4.00
Washington, D. C. Guide | $4.00

HASTINGS HOUSE
Publishers New York, 18

Transcriber’s Notes

- Copyright notice provided as in the original—this e-text is public domain in the country of publication.

- Silently corrected palpable typos; left non-standard spellings and dialect unchanged.

- Moved some captions closer to the corresponding pictures; exchanged the captions on pages 32 and 33.

- In the text versions, delimited italicized text by _underscores_.

*** END OF THE PROJECT GUTENBERG EBOOK SAN ANTONIO: CITY OF MISSIONS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- San Antonio CITY OF MISSIONS
- San Antonio
- San Antonio City of Missions
- American Guide Series
- Transcriber’s Notes
- THE FULL PROJECT GUTENBERG LICENSE